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Gender inequality in the movie industry
Gender inequality in the movie industry
How long has gender inequality in Hollywood been around
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From Casablanca to The Dark Knight, the majority of global audience has adored melodrama as a genre since the beginning of the golden age of Hollywood. We appreciate these dramas for strong appeal to our emotions. As a result, melodramas are a tremendous tool to evaluate the tides of society’s value. Male melodramas, usually driven by the characters’ masculinity, therefore, are not only useful to assess our preference for an engaging thriller, but also means to determine the sameness in our humanity for the strong emphasize on masculinity as a storytelling device. Gran Torino and The Hustler are two films from the two completely different periods (modernist and classical); however, they carry resemblance similarities for introducing the salvation …show more content…
What society consider as muscular are depicted in the films as a reflection of the time periods. However, by examining some of the characteristics of both Eddie and Walt, one can easily notice the similarity despite of the 50 years gap between the two of them. For instance, the affection for possessions in The Hustler is shown through every aspect of every male character. Eddie and his partner hustle pool players at local bars for a living. Moreover, when Bert took Eddie to the Kentucky Derby, audience is presented with endless gambling, fancy suites, and men with great power. All of these are still relevant even today, which demonstrates how much the pursuit of masculinity has stayed the same over the years. Meanwhile in Gran Torino, we are aware of equal amount of love for possessions. Even the tile of the film is named after Walt’s beloved car the 1972 Ford Gran Torino. Serving as the Mcguffin of the story, we see different male character lusts over the car. And when Tao drives the Gran Torino off with his girlfriend towards the end of the film, we see the legacy continues on another male …show more content…
In The Hustler, Eddie is first introduced as a genius pool player who is reasonably successful but itches to play with the legends such as the Minnesota Fats. Eddie loses and is deemed without a “character” by Fats’ backer Bert, and embarks on his exile lifestyle. Eventually, after a series of incidents including the loss of his woman, Eddie finds his “character” and defeats Fats. The similar storytelling structure, which a hero fails at the beginning, encounter life-changing experience, and finally redeems himself, is also used in Gran Torino. In Gran Torino, Walt is introduced as an unpleasant old man and is seriously alienated from his family, church member, and most of all, his Asian neighbors. Through his interaction with Tao and his sister, Walt finds not only the Hmong foods delicious, but also his little buddy Tao worth saving from the evil gangster cousins. After his death at the end of the film, Walt becomes a respected man in the community despite all of his unpleasant mannerism at the
In “The Thematic Paradigm,” University of Florida professor of film studies, Robert Ray, defines two types of heroes pervading American films, the outlaw hero and the official hero. Often the two types are merged in a reconciliatory pattern, he argues. In fact, this
Like most things captured on film for the purpose of being marketed, the richness of gangster life, with sex, money, and power in surplus, is glorified, and thus embraced by the audience. And as a rule, if something works Hollywood repeats it, ala a genre. What Scarface and Little Caesar did was ultimately create a genre assigning powerful qualities to criminals. Such sensationalism started with the newspapers who maybe added a little more color here and there to sell a few more copies, which is portrayed in Scarface’s two newspaper office scenes. Leo Braudy denounces genres as offending “our most common definition of artistic excellence” by simply following a predetermined equation of repetition of character and plot. However, Thomas Schatz argues that many variations of plot can exist within the “arena” that the rules of the genre provide.
Batman, Robin , and Alfred the butler are all in the quest movie The Dark Knight Rises. Batman is the quest hero, Robin is the helper/guide, and alfred is the wise old man who gives advice. This quest story has a lot in common as the book True Grit by Charles Portis. In the quest novel Mattie Ross fits the description of the quest hero. Reuben (Rooster) Cogburn fits the wise old man because he acts as a fatherly figure towards Mattie Ross, and knows the gang that Tom Chaney (the villain) is with. LaBoeuf fits the helper guide because he is Helping to catch the murderer Tom Chaney.
Iocco, Melissa. "Addicted To Affliction: Masculinity and Perversity In Crash and Fight Club." Gothic Studies 9.2 (2007): 46-56. Humanities Full Text (H.W. Wilson). Web. 16 April 2014.
Beginning the mid 1920s, Hollywood’s ostensibly all-powerful film studios controlled the American film industry, creating a period of film history now recognized as “Classical Hollywood”. Distinguished by a practical, workmanlike, “invisible” method of filmmaking- whose purpose was to demand as little attention to the camera as possible, Classical Hollywood cinema supported undeviating storylines (with the occasional flashback being an exception), an observance of a the three act structure, frontality, and visibly identified goals for the “hero” to work toward and well-defined conflict/story resolution, most commonly illustrated with the employment of the “happy ending”. Studios understood precisely what an audience desired, and accommodated their wants and needs, resulting in films that were generally all the same, starring similar (sometimes the same) actors, crafted in a similar manner. It became the principal style throughout the western world against which all other styles were judged. While there have been some deviations and experiments with the format in the past 50 plus ye...
In the classical Western and Noir films, narrative is driven by the action of a male protagonist towards a clearly defined, relatable goal. Any lack of motivation or action on the part of the protagonist problematizes the classical association between masculinity and action. Due to inherent genre expectations, this crisis of action is equivalent to a crisis of masculinity. Because these genres are structured around male action, the crises of action and masculinity impose a crisis of genre. In the absence of traditional narrative elements and character tropes, these films can only identify as members of their genres through saturation with otherwise empty genre symbols. The equivalency between the crises of genre and masculinity frames this symbol saturation as a sort of compensatory masculine posturing.
Studies in melodrama usually hover around the works of a few significant directors, all of whom were at the top of their craft in Hollywood during the 1950s. Douglas Sirk, Vincente Minnelli, and Nicholas Ray were just a few of the directors who worked at that time, and all helped to shape the conventions of melodrama to which audiences and critics alike have become so accustomed. However, recent melodramas have been unable to reach the popularity that the films of the 1950s achieved, and most current audiences would dismiss the na•ve and artificial world that those films presented as rather trite. But Thomas Schatz raises an interesting point in his article "The Family Melodrama." He claims that "those who look more closely at [the films of the 50s] may see through the facile naiveté to an altogether bleaker reflection" (152). And, even though melodramas are not as widely seen as they were in the past, the ones that are still strive to portray the "[paradoxical] view of America, at once celebrating and severely questioning the basic values and attitudes of the mass audience" (Schatz 150).
Classic narrative cinema is what Bordwell, Staiger and Thompson (The classic Hollywood Cinema, Columbia University press 1985) 1, calls “an excessively obvious cinema”1 in which cinematic style serves to explain and not to obscure the narrative. In this way it is made up of motivated events that lead the spectator to its inevitable conclusion. It causes the spectator to have an emotional investment in this conclusion coming to pass which in turn makes the predictable the most desirable outcome. The films are structured to create an atmosphere of verisimilitude, which is to give a perception of reality. On closer inspection it they are often far from realistic in a social sense but possibly portray a realism desired by the patriarchal and family value orientated society of the time. I feel that it is often the black and white representation of good and evil that creates such an atmosphere of predic...
Batman (Christian Bale) is hoping to hand on his crime fighting duties to D.A Harvey Dent (Aaron Eckhart) yet when Batman’s cards are on the table the twisted mastermind who goes by the name of the joker (Heath Ledger), forces the masked vigilante to go against everything he ever stood for.
The Godfather is the “dark-side of the American dream story” (Turan, pp2). The film follows the practices of a fictional Italian mafia family, the Corleone’s. Though most Americans do not condone the practices of the Italian mafia, they cannot deny that Francis Ford Coppola’s The Godfather is a cinematic masterpiece. This film gave insight to a mysterious way of life that the average person does not have knowledge of. As the audience is educated about the mafia they also are introduced to many stereotypes.
One could easily dismiss movies as superficial, unnecessarily violent spectacles, although such a viewpoint is distressingly pessimistic and myopic. In a given year, several films are released which have long-lasting effects on large numbers of individuals. These pictures speak
In the article “The Thematic Paradigm” exerted from his book, A Certain Tendency of the Hollywood Cinema, Robert Ray provides a description of the two types of heroes depicted in American film: the outlaw hero and the official hero. Although the outlaw hero is more risky and lonely, he cherishes liberty and sovereignty. The official hero on the other hand, generally poses the role of an average ordinary person, claiming an image of a “civilized person.” While the outlaw hero creates an image of a rough-cut person likely to commit a crime, the official hero has a legend perception. In this essay, I will reflect on Ray’s work, along with demonstrating where I observe ideologies and themes.
In this essay the following will be discussed; the change from the age of classical Hollywood film making to the new Hollywood era, the influence of European film making in American films from Martin Scorsese and how the film Taxi Driver shows the innovative and fresh techniques of this ‘New Hollywood Cinema’.
‘Lad flicks’ or ‘lad movies’ is a type of film genre that emerged in the late 1990s. They are defined as a “‘hybrid of “buddy movies”, romantic comedies and “chick flicks”, which centre on the trials and tribulations of a young man as he grows up to become a ‘real man’. ‘Lad flicks’ respond in part to the much-debated ‘crisis in masculinity’” (Benjamin A. Brabon 116). This genre of film explored what it meant to be a ‘real man’ in the twentieth century and in order to do so, they would have to grow up and leave their juvenile ways behind to enter the heterosexual world. Gender relations in ‘lad flicks’ portray masculinity as a troubled, anxious cultural category hiding behind a humorous façade and also rely greatly on a knowing gaze and irony. The two ‘lad flicks’ that will be analyzed are The 40-Year-Old Virgin (Judd Apatow 2005) and Role Models (David Wain 2008).
Any fan of Batman knows that “Batman Begins” and “The Dark Knight” are two of the best Batman films made in the seventy-eight years that Batman has been around. The plots really make you look deep in yourself and show the true and more real sides of the characters of the Batman world. Each movie shows the evolution of Batman and shows only a few of the many crazy and intense adventures of this mysterious hero. These two movies are the first two in the dark knight trilogy, created by the amazing Christopher Nolan. These movies were heavily praised for their astounding realism to the real world, and its pros and cons. But they were also extremely liked for their possibility for